DOCSLIB.ORG

Chapter 3: Best Practices in Digital Video

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter 3: Best Practices in Digital Video Digital Video & the Future of News Chapter 3: Best Practices in Digital Video 3 Best Practices in Digital Video Content and Placement Best Practices Now that you’ve seen the importance of digital video in the spectrum of content available to consumers, what are the best steps to leverage it for your brand? 1. Think Bigger than News According to the video team at CNN.com, hard news drives our agenda, but just focusing on the day’s news stories would not be sufficient for us to reach our goals. Mixed in with the top stories is a large amount of counter-programming featuring video stories we believe will garner a large audience and have the potential to go viral through social media. 2. Update as Often as Possible CNN shoots for hourly updates with our videos. While that may not be possible for you, you should avoid leaving the same videos posted in the same parts of your sites all day. 3. Broaden Your Sources CNN.com’s video team has multiple sources from which to pull video—our domestic CNN network, CNN International, HLN programming, affiliate partners, even videos trending online from other sources. Our programmers look for the right mix from all these sources to create a compelling digital video experience. 4. Consider an Original Video Team We employ a dedicated team to create original video just for CNN.com. Content can be pegged to ongoing news stories or be completely independent with the purpose of generating viewer interest. The video also can be created to provide sponsorship opportunities which can defray the cost of the original video team. 5. Don’t Just Post, Track You can’t just post a video and forget it. CNN tracks the performance of all our videos in real time and we replace those that are underperforming. Think of it as a video having to “earn” its place on the site. ! Some services to help track video performance: ! • Omniture — Adobe’s enterprise-level web analytics software used by many large publishers to monitor the performance of video and other assets • Chartbeat — Another web analytics suite that focuses on real-time monitoring. Current users include CNN, Gannett, NBC Universal and Al-Jazeera • Google — Beyond its basic tools Google offers many more services that give insight into how users are consuming and sharing your content 6. If Content is Doing Well, Reward It As CNN monitors our video content, those stories that are exceeding expectations are moved to more prominent positions on the site to further increase their visibility and find a larger audience. Too often news sites have a rigid structure that makes it hard to reward well-performing content. 7. Best Video Content In the words of the CNN.com video team, “Look for a video with a moment that gives you goosebumps.” A welcome home surprise A story where the user is in Videos with compelling involving a service member. on a secret that eventually is visuals, such as those revealed (e.g. an elaborate involving surveillance or marriage proposal). things caught on camera. Not surprisingly, videos Various other topics such involving animals. as underwater, aviation and space. What doesn’t work well? Stories where News involving General “good people are bullied or people being news” stories that taken advantage of. seriously injured or don’t otherwise maimed. have a compelling element. 8. Think About Supporting Content It’s not enough just to have good video. You also need to make sure that the content that describes and supports the video is compelling as well: Edit off anchor tosses and getting directly to When promoting, try to make a game out the meat of the story. You have at most 15 of what is teased, challenging the reader seconds for a viewer to be engaged before to click: “Where did your college end up he or she clicks off somewhere else. on the list of best schools? Click here to find out.” Craft good headlines to attract viewers and Select a good video thumbnail that will make sure the video pays off what got hook viewers and make them want to them to watch. click and play. 9. Consider the Mobile Experience As has been stated, the smartphone and tablet audience is expanding rapidly. Assume a large number of your video views, probably more than half, will come from mobile. Make sure that your teases, thumbnails and other supporting content work well for these devices. ! In short, be brief and to the point. Marketing Digital Video In addition to promotion on your own site, the two most important means to get people to your videos are proper SEO, and an aggressive push on social media. SEO: Search Engine Optimization To capitalize on the incredible content catalog that search engines produce literally every millisecond, your site and all its content has to be optimized for the search engines to read. SEO≠SEM Many people confuse SEO, search engine optimization, with SEM, search engine marketing. While a very important part of your marketing mix, SEM is a part of your media plan. SEO is built into the inherent structure of your site, pages and stories, to make them more transparent to search engines, driving them higher on search results pages. SEO SEO≠SEM Many people confuse SEO, search engine optimization, with SEM, search engine marketing. While a very important part of your marketing mix, SEM is a part of your media plan. SEO is built into the inherent structure of your site, pages and stories, to make them more transparent to search engines, driving them higher on search results pages. SEM Tips for Better SEO If there is an an option to add descriptive If a video falls into a certain category, text within the video player itself, add as say politics, listing all videos on that much as possible. Remember, search topic on a single page will help search engines cannot “see” the video, so they engines find them better. rely on text descriptions of what is in it. Each video needs its own unique page Other information on the page that with its own URL, even if it is embedded in describes the video needs to be another page with many videos. Most optimized for search, too. Elements such video player software can generate these as video title, description, names of discrete URLs. people involved, all help a search engine categorize a video. Even more powerful and immediate than SEO, social media has redefined how to promote digital video to an interested audience. Social Media & News Similarities ! Both have moved to being Both are geared towards • • consumed on smartphones a publishing “updates” or other majority of the time news-like information blurbs ! Both update frequently so users • Video is a very effective and viral often check back several times • type of content on both per day Social Platforms for Video Focus your attention on these platforms in this order: Twitter Facebook Instagram & Vine best fit for news updates The largest reach with Good for iconic images and retweets, now offers many shares, videos can and brief video teases, native video that plays also play here inline. as well as behind-the- inline. scenes shots. LinkedInUser polls & Google+ Others For SEO purposes only Not particularly well suited for video but worth watching and experimenting. Selling Through Social Two things sell digital video through social media: effective writing of teases and a compelling thumbnail image. Writing Strong Video Teases Social media is a busy, crowded landscape. You have to find a way to stand out, and give the user a reason to click: Use leading language to make the Give a specific reason the user reader want to see what happens needs to look at the video in the video—“A wrong-way driver —“Witness the biggest shark leads police on a mesmerizing ever filmed.” chase.” Writing Strong Video Teases Social media is a busy, crowded landscape. You have to find a way to stand out, and give the user a reason to click: If the video’s strength is emotion Don’t sensationalize what already then carry that emotion into the is dramatic or shocking. For tease—“What she did when she example, “The reason this little saw her son will make you cry.” girl killed her friend will shock you,” is redundant. The fact that a little girl is a murderer is shocking already. Instead try, “A 9-year-old girl stands accused of murder. See her plead her case.” Choosing Strong Thumbnails As much as the tease, a strong thumbnail image can make a user click on a video. Some tips for selecting the right thumbnail: The image needs to be bold, and large If possible, the image should reflect the enough to be seen at a very small size. Avoid meat of the story, like a still photo that wide shots or dark scenes. would accompany the story. Avoid showing an image from the key Never show the anchor on set or reporter scene in the thumbnail that would give as the thumbnail. away too much and not cause the user to feel he or she needs to click through. Other Social Media Best Practices Our web and digital video producers have these tips for better use of social media to promote video: ! • Keep videos that play inline on social media short—less than 1:00 and shorter than :30 when possible. • People watch more digital news video in the evenings so step up your social promotion at night, particularly after 9:00 • Post breaking news video on social as soon as it is available.
Load more

Recommended publications
  • Juvenile Series Fiction Series Title Series Description Age/ Grd
    Juvenile Series Fiction Series Title Series Description Age/ Grd. Genre Amy and her brother Dan have chosen to participate in a perilous tresure hunt that was created by their deceased Aunt Grace. They must 39 Clues decipher 39 clues to find the treasure. Grds. 4-6 Mystery Dink, Josh and Ruth Rose are friends. Together they solve mysteries that begin with a letter of the alphabet. The mysteries are simple enough that readers can collect clues and solve them along A-Z Mysteries with the characters. Grds. K-3 Mystery Who is Charlie Small? There are only his journals to describe his adventures. Did this 8-year-old really ride a rhino, defeat a crocodile, and lead the Adventures ofCharlie Small gorillas? Grds. 3-5 Humor/Adv Amber Brown is a third grader when the series begins. Through the series Amber uses humor to face the trials of growing up, her parent's divorce Amber Brown and her mother's remarriage. Grds. 2-4 Humor The stories portray strong young girls and women growing up in the United States during different American Girl time periods. Grds. 2-5 Fam. Life Fans of American Girl Books will enjoy reading about their favorite characters in these mysteries. Factual information relevant to the story is American Girl Mysteries appended. Grds. 2-5 Mystery Mandy's parents are veterinarians and she sometimes helps out at their animal hospital. Mandy and her friends try to help find homes for Animal Ark stray pets. Grds. 3-5 Real Life Marc Brown's Arthur Books continue in this series for the intermediate chapter book reader.
    [Show full text]
  • Goosebumps, YTV, and Canadian Children's Television Pat Bonner A
    Reading Against the Goo: Goosebumps, YTV, and Canadian Children’s Television Pat Bonner A Thesis In The Mel Hoppenheim School of Cinema Presented in Partial Fulfilment of the Requirements For the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada August 2019 ©Pat Bonner, 2019 ii CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Pat Bonner Entitled: Reading Against the Goo: Goosebumps, YTV, and Canadian Children’s Television and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: __________________________________________Chair Catherine Russell, PhD __________________________________________ Examiner (Internal) Marc Steinberg, PhD __________________________________________ Examiner (External) Charles Acland, PhD __________________________________________ Supervisor Joshua Neves, PhD Approved by __________________________________________ Chair of Department or Graduate Program Director __________ 2019 _______________________________________ Dean of Faculty, Dr. Rebecca Duclos iii ABSTRACT This thesis examines the oversight of Canadian children’s television through the Canadian-American co-venture Goosebumps (1995-1998) and the Canadian specialty children’s network YTV. Grounding Goosebumps within the North American post-network television landscape, this thesis argues that the show anticipates hypercommercialism, a term used to define “the way in which advertisers tend to colonize media spaces” (Asquith 2012). This thesis proposes that by detaching YTV and Goosebumps from the threatening connotations of hypercommercialism, scholars can better engage with the show’s reception. It further contends that Goosebumps is imbued with sensorial and perceptual operations which can help children achieve the “mastery of intertextuality” (Kinder 1999).
    [Show full text]
  • Goosebumps Monster Who Has Escaped from Your Manuscript to Roam the Streets of Madison
    When it is your turn and the draw pile is out of cards, another player must gather the discarded cards and shuffle them to make a new draw pile. Monster Mayhem Cards The Landmarks on the path are: RL Stine’s House, Madison Police Station, the Graveyard, Play these cards during your turn. the Highschool, and the Amusement Park. When you are on a Landmark, you are safe from Landmarks the effects of Monster Mayhem cards - except Found Your Book! Landmarks are the only R.L. Stine's spaces that 2 or more players can occupy at the same time. NOTE: The End is NOT a Instructions Landmark and 3 of a Kind and Monster Mayhem cards cannot be used to reach it. house Contents: Game Board, 6 Monster Characters, 65 Cards (nine sets of 1-6 and 11 Monster Mayhem Cards) You’re a Goosebumps monster who has escaped from your manuscript to roam the streets of Madison. The only threat to your continued monster mayhem is the magical typewriter of R.L.Stine. So it’s a race across town to shortcut through the Graveyard Object FOUND YOUR BOOK! make sure you capture the typewriter and can never again be trapped between the pages of a book! Pal of the Praying Mantis Hitch a ride in the If you land exactly on the Graveyard Shortcut sign on the path then you may proceed to the top tombstone. Nothings gets in your way when you’re Move ahead 6 and send the lead player back to their previous with the biggest monster on the block.
    [Show full text]
  • Rl-Stine.Pdf
    R.L. S&ne, born Robert Lawrence, was born in Columbus Ohio in 1943. He began wri&ng at the early age of nine, upon making a discovery that forever changed his life. It was in the late aernoon that Robert found an old family typewriter in the ac. It was said that he took this old typewriter to his room where he spent hours upon hours typing stories and jokes. His mother was said to have insisted that Robert stop typing and go outside and play. Robert felt going outside was boring and would oFen choose to write instead. His discovery later paid off in life because he never stopped wri&ng. AFer graduang from Ohio State University in 1965, Robert pursued his life’s dream of becoming a writer. He set off to New York where he wrote many books for kids. He created a humor magazine known as, Bananas which he contributed to for ten years. In those &mes he wrote under an alias known as, Jovial Bob S&ne. R.L. S&ne soon married a woman named Jane Waldhorn in 1969. Jane was an editor and writer herself, and she knew Robert’s talent had to be known. It was later that her and her partner formed their own publishing company known as, Parachute Press. This company would later help create all of Robert’s popular book series. In 1986, Robert wrote his first teen horror novel en&tled, Blind Date. It became an instant best seller and piqued his interest to pursue scary novels.
    [Show full text]
  • The Haunted Mask
    THE HAUNTED MASK Goosebumps - 11 R.L. Stine (An Undead Scan v1.5) 1 1 “What are you going to be for Halloween?” Sabrina Mason asked. She moved her fork around in the bright yellow macaroni on her lunch tray, but didn’t take a bite. Carly Beth Caldwell sighed and shook her head. The overhead light on the lunchroom ceiling made her straight brown hair gleam. “I don’t know. A witch, maybe.” Sabrina’s mouth dropped open. “You? A witch?” “Well, why not?” Carly Beth demanded, staring across the long table at her friend. “I thought you were afraid of witches,” Sabrina replied. She raised a forkful of macaroni to her mouth and started to chew. “This macaroni is made of rubber,” she complained, chewing hard. “Remind me to start packing a lunch.” “I am not afraid of witches!” Carly Beth insisted, her dark eyes flashing angrily. “You just think I’m a big scaredy-cat, don’t you?” Sabrina giggled. “Yes.” She flipped her black ponytail behind her shoulders with a quick toss of her head. “Hey, don’t eat the macaroni. Really, Carly Beth. It’s gross.” She reached across the table to keep Carly Beth from raising her fork. “But I’m starving !” Carly Beth complained. The lunchroom grew crowded and noisy. At the next table, a group of fifth-grade boys were tossing a half-full milk carton back and forth. Carly Beth saw Chuck Greene ball up a bright red fruit rollup and shove the whole sticky thing in his mouth. “Yuck!” She made a disgusted face at him.
    [Show full text]
  • INFORM ATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Arm Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE EXPLORATION OF MIDDLE SCHOOL STUDENTS' INTERESTS IN AND ATTRACTIONS TO THE WRITINGS OF R. L. STINE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Stacia A.
    [Show full text]
  • Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
    Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g.
    [Show full text]
  • At Least 13 Dimensions Organize Subjective Experiences Associated with Music Across Different Cultures
    What music makes us feel: At least 13 dimensions organize subjective experiences associated with music across different cultures Alan S. Cowena,1,2, Xia Fangb,c,1, Disa Sauterb, and Dacher Keltnera aDepartment of Psychology, University of California, Berkeley, CA 94720; bDepartment of Psychology, University of Amsterdam, 1001 NK Amsterdam, The Netherlands; and cDepartment of Psychology, York University, Toronto, ON M3J 1P3, Canada Edited by Dale Purves, Duke University, Durham, NC, and approved December 9, 2019 (received for review June 25, 2019) What is the nature of the feelings evoked by music? We investi- people hear a moving or ebullient piece of music, do particular gated how people represent the subjective experiences associated feelings—e.g., “sad,”“fearful,”“dreamy”—constitute the foun- with Western and Chinese music and the form in which these dation of their experience? Or are such feelings constructed representational processes are preserved across different cultural from more general affective features such as valence (pleasant vs. groups. US (n = 1,591) and Chinese (n = 1,258) participants listened unpleasant) and arousal (9, 11–15)? The answers to these to 2,168 music samples and reported on the specific feelings (e.g., questions not only illuminate the nature of how music elicits “ ”“ ” angry, dreamy ) or broad affective features (e.g., valence, subjective experiences, but also can inform claims about how the arousal) that they made individuals feel. Using large-scale statisti- brain represents our feelings (8, 15), how infants learn to rec- cal tools, we uncovered 13 distinct types of subjective experience ognize feelings in themselves and others (16), the extent to which associated with music in both cultures.
    [Show full text]
  • Goosebumps Series List.Pdf
    AUTHOR / LIST TITLE ISBN ILLUSTRATOR PRICE NEW! GOOSEBUMPS MOST WANTED Releasing October 2012! #1 PLANET OF THE LAWN GNOMES Stine $6.99 9‐780545‐41798‐3 Releasing January 2013! #2 SON OF SLAPPY Stine $6.99 9‐780545‐41799‐0 Releasing April 2013! #3 HOW I MET MY MONSTER Stine $6.99 9‐780545‐41800‐3 NEW! GOOSEBUMPS WANTED THE HAUNTED MASK (HARDBACK) Stine $15.99 9‐780545‐41793‐8 GOOSEBUMPS SERIES CLASSIC GOOSEBUMPS #01: NIGHT OF THE LIVING DUMMY Stine $5.99 9‐780545‐03517‐0 CLASSIC GOOSEBUMPS #02: DEEP TROUBLE Stine $5.99 9‐780545‐03519‐4 CLASSIC GOOSEBUMPS #03: MONSTER BLOOD Stine $5.99 9‐780545‐03520‐0 CLASSIC GOOSEBUMPS #04: THE HAUNTED MASK Stine $5.99 9‐780545‐03521‐7 CLASSIC GOOSEBUMPS #05: ONE DAY AT HORRORLAND Stine $5.99 9‐780545‐03522‐4 CLASSIC GOOSEBUMPS #06: THE CURSE OF THE MUMMY'S TOMB Stine $5.99 9‐780545‐03523‐1 CLASSIC GOOSEBUMPS #07: BE CAREFUL WHAT YOU WISH FOR Stine $5.99 9‐780545‐03524‐8 CLASSIC GOOSEBUMPS #08: SAY CHEESE AND DIE! Stine $5.99 9‐780545‐03525‐5 CLASSIC GOOSEBUMPS #09: THE HORROR AT CAMP JELLYJAM Stine $5.99 9‐780545‐03526‐2 CLASSIC GOOSEBUMPS #10: HOW I GOT MY SHRUNKEN HEAD Stine $5.99 9‐780545‐03518‐7 CLASSIC GOOSEBUMPS #11: WEREWOLF OF FEVER SWAMP Stine $5.99 9‐780545‐15886‐2 CLASSIC GOOSEBUMPS #12: A NIGHT IN TERROR TOWER Stine $5.99 9‐780545‐15887‐9 CLASSIC GOOSEBUMPS #13: WELCOME TO DEAD HOUSE Stine $5.99 9‐780545‐15888‐6 CLASSIC GOOSEBUMPS #14: WELCOME TO CAMP NIGHTMARE Stine $5.99 9‐780545‐15889‐3 CLASSIC GOOSEBUMPS #15: GHOST BEACH Stine $5.99 9‐780545‐17803‐7 CLASSIC GOOSEBUMPS #16: SCARECROW
    [Show full text]
  • The Dark Warrior Guide to Chinese Medicine
    The Dark Warrior Guide to Chinese Medicine 玄武中医指南 Volume II Basic Concepts of Pathology John E. Pirog 1 The Dark Warrior Guide to Chinese Medicine Volume II Basic Concepts of Pathology © John Pirog 2016 2 Preface to Volume II This second volume of Dark Warrior continues where the first left off. Having learned how the body behaves when it functions normally, we will now explore what happens when it is ill. You will soon find that the arrangement of subject matter in this volume is quite different from that of standard Chinese medical texts. Decades of teaching experience has shown me that Chinese medicine is easier to learn if it is sequenced as it is here. You will get the most out of Dark Warrior, therefore, if you read it like a novel, from start to finish, without skipping chapters or jumping ahead. Each new idea is explained when it is first introduced, and later chapters build on ideas previously covered. But while my pedagogy is designed for Western learning styles, I have taken pains to ensure that the ideas in Dark Warrior are representative of Chinese medicine as it is taught in China. I have used the vocabulary developed by Wiseman and his collaborators to establish a clear pedigree between translated technical terms and their Chinese- language originals. To make translatability even clearer, I have included the character whenever an important technical term is introduced. In a very few instances I have changed the Wiseman translation; these exceptions can be found in the appendix in the back of the book.
    [Show full text]
  • Modern Fantasy.Pptx
    10/24/14 Modern Fantasy Do you know this movie? By Jessica Jaramillo h"ps://www.youtube.com/watch?v=Q9I5tlU4Kuo Rachel Jones Nicole Lusk Defining Modern Fantasy The Evolution of Modern Fantasy • Genre began in the 19th century. Known as literary fairy tales and stylized by oral tradiGon • Unexplainable beyond known. “willing suspense of disbelief” • Generic sengs, distant Gmes, magical, one dimensional, happy Gmes. • Unlike oral tradiGon, literary fairy tales had known authors. • Extends reality through a wide imaginave vision. • 1st publicaon in the U.S. – The Wonderful Wizard of Oz by Frank Baum in 1900. • Never could be. • 1945 Newberry Medal to Robert Lawson for Rabbit Hill. • Misunderstood as an escape to a simpler world. • Engaging, rich plots, fantasc elements, and rich characters. Fantasies from the beginning • Strength and depth of emoon surpass real life experiences. •Alice’s Adventures in Wonderland – Lewis Carroll 1865 •The Hobbit – J. R. R. Tolkien 1937 • •At the Back of the North Wind - George MacDonald 1871 •The Chronicles of Narnia – C. S. Lewis 1950-1956 Two types: Low Fantasy and High Fantasy •The Jungle Book – Rudyard Kipling 1894 • Low: - primary world “here and now” –magic – impossible elements •Peter and Wendy “Peter Pan” – J.M. Barrie 1904 (1911) • High: - secondary world – impossible in 1st – consistent with laws of •The Tale of Peter Rabbit - Beatrix Po"er 1902 2nd world •The Wind in the Willows – Kenneth Grahame 1908 •Winnie-the-Pooh – A.A. Milne 1926 3 plots: - created world – travel between – primary marked by boundaries Current Fantasies Mid 20th Century popularity 21st century Extraordinary popularity •Picture books by: Kevin Henkes, Rosemary Wells, Susan •Goosebumps series – R.
    [Show full text]
  • Elements 2017 Edition
    Elements 2017 Editor-in-Chief: Arielle Henry Faculty Advisor: Dr. Erika T. Wurth Editorial Team: Sarah Rogers, Adrienne Tinsley, Morgan Cusack, Matt Gamperl, Sara Hopkins Poetry Prose Afolarin Sanni Orange Jumpsuit Afolarin Sanni Changes Girl with the Pixie Cut Waiting in England Destiny Thomas Arielle Henry Family Affair The Lonely Wall Haley Helgesen Laurence L. Leff The King and Me: My Many Meetings with Ode to a Rowing Machine Stephen King Maria Chiaradonna Maric Mclean Nothing Head Games The Machine Morgan Cusack Michelle Sierra Pancakes at Penny’s Mad Love Sunday Dress Rebecca Gonner The Photograph Natalie Jacobson It Rained Last Night The Night Is Shelby Davin End of the Beginning Pocket Change Winners of the Lois C. Bruner Creative Nonfiction Award: Afolarin Sanni In Transition Rebecca Gonner Mirror Mirror Fuck You Sarah Radtke Untitled Winners of the Cordell Larner Award in Fiction: Allen Dullin After the Fire Cheyenne Rideaux Neverland Matt Gamperl Yawning Pines Winners of the Cordell Larner Award in Poetry: Allison Hartman We Grew Up Scarred Rachel Troyer The Foul Deed My Lost Friend Ars Poetica Natalie Jacobson Cold as Stone, Soft as Lace Af Sanni “Orange Jumpsuit” When the spring lifts, the white lilies grow beautifully. I’d be watching at the window, as the rain poured past the glass. The white lilies grow beautifully after the coldness of winter has passed. As the rain poured past the glass, I would count the days until I returned home. After the coldness of winter passed, I was ready to get back to my family. I would count the days until I returned home, until there were no more days left.
    [Show full text]